Fantastic Beasts 2 is finished, and the subtitles should be "Where is Credence" and "What is the relationship between Gerdeng". Feelings are given half a star, can't be more. Before watching it, I made too many pre-sets and complaints, but I didn’t feel particularly dizzy after watching it (instead, the first part was quite dizzy, and probably the second part was no surprise), but the overall effect was flatter than the first one. This time it's still jkr's usual narration, but it's not like a movie. Some foreshadowing not only did not play a step-by-step role, but appeared to be overgrown. In the past, Rowling in the HP world had three axes (made up), suspense, imagination and concept fusion.
Suspense first. Foreshadowing and foreshadowing are originally Rowling's strengths. Early complete unit stories often have a key suspense, from which to start the main line; at the same time, she will also play an official set, first trapping the protagonist, and finally reversing her identity at the climax of the story. Interpretation Suspense is also a fixed unit after the climax: Quirrell in the first, Sirius Wormtail in the third, Mad-Eye Moody in the fourth, and finally Snape Dumbledore. Fantastic Beasts 2 also followed suit. The ultimate clue character is Credence. If you look for Credence, I will also look for Credence. There are actually only two kinds of seemingly complicated character lines. (directly or indirectly) Credence, and Credence himself. But why did Grindelwald seek this Chosen Son? The explanation is very weak, and he also failed in the previous one. The main task is to find the Son of Heaven, and the reverse is reversed. The clue is divided into two parts. Rita is one. This line leads to her family, her fearful past, and links the two brothers; the other is Rita's brother, Linked to Tina, and the accompanying protagonist group. The main suspense is the life experience of the Son of Heaven. The problem lies here. The language of film is different from that of literature. Rowling's proud foreshadowing (often a memory point that has nothing to do with the main line) is thrown all over Grindelwald and Dumbledore. If you haven't watched the first part, Credence must be at a loss. Even if you have, the audience and readers have not entered Rowling's "official set", that is, the superficial identity of "Rita's brother", until the In the end, the cemetery directly linked two pieces of information, indicating that this set was also unwrapped at the same time, so the Boggart who had laid the groundwork before became a cumbersome live buckle, remove this plot and even remove the entire Rita, the main line Still there...except for the big triangle of dog blood. Not to mention the protagonist group, they were tricked into watching a speech in the same place. So after watching the whole film, the key development is that Credence's surname is Deng, and the relationship with Gedeng is love and killing; it makes sense in a chapter of the novel, but in a movie... This is probably not the audience content of concern. The former did not advance the plot after knowing it, the latter everyone knew before watching (squint smile)
After the main line is finished, it is imagination and integration. Rowling's contribution to the HP world is not as simple as contributing a world (so don't be complacent about "creating a world", this tag is simply used badly), what Rowling contributed is an extraordinary and ordinary grafted worldview, At the same time, using magic as a carrier, many concepts (such as love, courage, fear) have been re-developed, and there is also a model of a super-pattern magic school. Fantastic Beasts 1 not only shows various creatures, but also concentrates on the concept of silent magic monsters. The former satisfies the audio-visual, while the latter supports the main line, which is fairly balanced; the monsters in Fantastic Beasts 2 are pet-level, except to please Asia. Zuwu and Nagini of the market can get the main message that the Chosen One lacks love. Dumbledore is no longer the balance point between the school and the Ministry of Magic, nor is it linked to the social relationship of the protagonist, so the role is more free, but also more floating, and can only be supported by family relationships. Therefore, the core will of 2 is very weak, but it also has to satisfy the form of the film, the climax of the symbolic performance of sensory stimulation, and the concept description left for the villain camp of Grindelwald is even less.
In the final analysis, it is the rough main line around the millennium that the plot is getting weaker and weaker, and the world is more turbulent and fragmented. Rowling has to transform from the traditional hero model (yes, the narrative power of fairy tales is stronger) into a new hero , new and old audiences will inevitably have to go through this period of pain.
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